https://youtu.be/v85Npd_pB3w?t=22 According to my friend the remarkably loquacious Spanish pianist Pedro Carboné, the “birth of Spanish music” occurs during the third of Manuel de Falla’s Nights in the Gardens of Spain. Pedro made this argument at length on our most recent “PostClassical” broadcast: “Falla and Flamenco.” And he clinched it by citing his distinctive live performance of this piece with PostClassical Ensemble. You can hear what Pedro’s talking about by gong to 1:03:00 here. Bill McGlaughlin, who hosts “PostClassical,” … [Read more...]

The current Weekly Standard has a long piece by me about the future of American orchestras. I write that orchestras can help us to heal our shredded national fabric and regain a lost “sense of place” – a shared American identity via our history and culture. And yes, I mean high culture. I continue in part: “Our colleges don’t teach much history any longer. Many cultural institutions seem increasingly adrift. And yet I have stumbled upon an unlikely alliance that works: orchestras in partnership with universities. . . . “If orchestras … [Read more...]

  My father, who grew up on the Lower East Side, probably never heard opera until – like other Jews of his generation facing American quotas -- he went to medical school in Vienna in the 1930s. His only prior exposure to full-throated singing, I imagine, came in the synagogue: cantorial tenors. When I was very young and precociously amassing LPs of Beethoven, Brahms, and Wagner, my father collected recordings of the operetta tenors from his medical school years, singers whose high temper and juicy high notes connected with Jan Peerce … [Read more...]

  As I write in Understanding Toscanini (1987): “In 1932, in a minor cause celebre, Wilhelm Furtwangler was discovered likening American orchestras to ‘pet dogs’ (Luxushunden) in a speech honoring the fiftieth anniversary of the Berlin Philharmonic. To Furtwangler, whose rapport with the New York Philharmonic’s ‘dog owners’ had not been smooth, the absence of government subsidies in the United States implied that orchestras were deemed less essential there than in Europe. When the ‘pet dogs’ analogy stirred American resentment, he … [Read more...]

As many who follow baseball know, Jacob deGrom is an artist. It’s not just that he’s likely to win the National League Cy Young Award. Or that his stats this season were off the charts: a 1.70 ERA; 29 consecutive starts allowing three runs or fewer; 269 strike-outs in 217 innings. DeGrom throws exceptionally hard. He is deceptive. He is a master of location. But the predominant impression, from the stands, is of Zen-like concentration, of a poetic fluency of self-possession uncanny and impregnable. The vicissitudes of the game seem not to … [Read more...]

Charles O’Connell, who commanded “artists and repertoire” for RCA Victor from 1930 to 1944, left a book of reminiscences – The Other Side of the Record (1947) – documenting an astute, querulous intellect and a meddlesome ego. It was often O’Connell who decided what music famous conductors, pianists, and violinists might commercially record. O’Connell admired Sergei Rachmaninoff – yet only recorded Rachmaninoff in two extended solo piano works: Schumann’s Carnaval and Chopin’s B-flat minor Sonata, both classics of the discography for piano. … [Read more...]

Today's "Wall Street Journal" includes my review of "one of the most searing listening experiences in the history of recorded sound" -- the new Marston Records 3-CD set: "Rachmaninoff Plays Symphonic Dances" -- which you can sample here. My review reads: One of the saddest and most paradoxical artistic exiles of the 20th century was Sergei Rachmaninoff, who fled the Russian Revolution and wound up in New York and Los Angeles, in equal measure celebrated and obscure.  Rachmaninoff (1873-1943) left Moscow a composer and conductor of high … [Read more...]

Years ago, before I was shown the door, I briefly taught at the Manhattan School of Music within their graduate program for aspirant orchestral musicians. My intention was to impart some knowledge about the history of the orchestra in order to shed light on the decline of orchestras and of orchestral performance – and to suggest that young musicians might be able contribute constructively. I boldly inflicted both reading and writing assignments. The class was large (it was in fact required) – more than 50 instrumentalists. The majority … [Read more...]

Back in the 1990s, Harvey Lichtenstein – who recreated the Brooklyn Academy of Music – invited me to lunch and asked me if I wanted to run an orchestra. Harvey had just read my notorious Jeremiad Understanding Toscanini: How He Became an American Culture-God and Helped Create a New Audience for Old Music. That was published by Knopf when a book about classical music might generate four or five dozen major reviews, including Newsweek and Time. Understanding Toscanini ends with a diatribe about Lincoln Center. I speculate that if an … [Read more...]